Paestum & Velia

PAEST UM& DALLE 10.00–12.00 E DALLE 15.00–17.00 _ ARTVELIA, LABORATORI DIDATTICI PER TUTTI A CURA DELLA VELIA COOPERATIVA EFFETTO RETE SABATO 26 SETTEMBRE DALLE 11.00–13.00 E DALLE 16.00–18.00 _ NOTE DI MUSICA TRA GLI SCAVI DI VELIA A CURA DEL CONSERVATORIO DI MUSICA “GIUSEPPE MARTUCCI” DI SALERNO APERTURA STRAORDINARIA SERALE VELIA DALLE 19.00 ALLE 22.30 SABATO 26 SETTEMBRE [ULTIMO INGRESSO ORE 22.00] E DOMENICA 27 SETTEMBRE 2020 COSTO DEL BIGLIETTO € 1,00 DALLE 20.00–21.00 INGRESSO ALL’AREA ARCHEOLOGICA _ TRA LE STRADE DI VELIA. UNA DALLE ORE 9.00 FINO ALLE 19.30 PASSEGGIATA NELLA STORIA DA [ULTIMO INGRESSO 18.45] PARMENIDE A OGGI A CURA DI LUIGI VECCHIO UNIVERSITÀ DEGLI STUDI DI SALERNO GIORNATE EUROPEE DEL PATRIMONIO 26-27 SETTEMBRE 2020 PAESTUM SABATO 26 SETTEMBRE E SABATO 26 SETTEMBRE DOMENICA 27 SETTEMBRE 2020 APERTURA STRAORDINARIA SERALE DALLE 19.00 ALLE 22.30 INGRESSO AL MUSEO E ALL’AREA [ULTIMO INGRESSO ORE 22.00] ARCHEOLOGICA COSTO DEL BIGLIETTO € 1,00 DALLE ORE 9.00 ALLE ORE 19.30 DALLE 20.00–22.00 [ULTIMO INGRESSO 18.45] _ PAESTUM AL CHIARO DI LUNA VISITA AL BUIO CON LANTERNE DALLE 10.00–12.00 E DALLE 15.00–17.00 AL SANTUARIO MERIDIONALE E _ DAL CANTIERE AL MUSEO DISTRIBUZIONE DELL’ASTROLABIO PERCORSI TEMATICI SUGLI SCAVI DI PAESTUM NEL SANTUARIO www.arte-m.net MERIDIONALE E NEL MUSEO TUTTE LE ATTIVITÀ SONO GRATUITE _ ATTIVITÀ PER BAMBINI E E SI SVOLGERANNO NEL PIENO RAGAZZI AL PARCO DEI PICCOLI RISPETTO DELLE NORME ANTI IN COLLABORAZIONE CON COVID-19 LEGAMBIENTE PAESTUM INFO TEL 0974 972396, 0974 271016 @PAESTUMPARCO PARCO ARCHEOLOGICO DI PAESTUM E VELIA WWW.PAESTUM.MUSEUM @PARCOVELIA VIA MAGNA GRECIA, 919 - CAPACCIO PAESTUM (SA) [email protected] PARCOARCHEOLOGICOPAESTUM TEL 0828 811023 PARCO ARCHEOLOGICO PAESTUM PARCOARCHEOLOGICOVELIA PIAZZALE AMEDEO MAIURI - ASCEA (SA) PARCO ARCHEOLOGICO VELIA PARCO ARCHEOLOGICO DI PAESTUM E VELIA.

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Workshops of Apulian
- . WORKSHOPSOF APULIAN RED-FIGURE OUTSIDE TARANTO E. G. D. Robinson The publication of The Red-figured Vasesof Apulia brought, for the first time, structure to a massive body of information. The classification of thousands of vases, on the basis of style, has opened the way to other kinds of studies. One such study is offered here with gratitude to Alexander Cambitoglou from a colleague and former pupil. Since the beginning of the study of Apulian red-figured vases, there has been controversy over the localization of its workshops.l It is now accepted that Apulian red-figured vases were first made in Taranto; only late in the series are Apulian workshops outside Taranto postulated. It is widely recognized that one important late group, comprising the Baltimore Painter, Arpi Painter, White SaccosPainter and others, worked in Canosa or somewhere close by.2 Other painters, outside this broad stylistic grouping, may be strongly associatedwith one site, like the Laterza Painter with Salapia and the Lampas Painter with Canosa.3Caution should be exercised if, as in these two cases, a large proportion of the vases with proveniences come from one tomb.4 The acquisition of large groups of vases by one painter, who need not have been working locally, for placementin a tomb is commonin the later 4th cent. BC. The presencein : Rutigliano (1976) Tomb 24 of seven vases by the Painter of the Berlin Dancing Girl i shows that the phenomenon exists right from the beginning of the Apulian series.s The present study aims to use the stylistic groups and proveniences published in RVAp for a simple statistical survey.6 It will firstly look at the proveniences of vases in Late Apulian red-figure, to examine the possible localization of workshops in northern Apulia.
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The GIS Application to the Spatial Data Organization of the Necropolis of Poseidonia-Paestum (Salerno, Italy)
The GIS Application to the Spatial Data Organization of the Necropolis of Poseidonia-Paestum (Salerno, Italy) A. SANTORIELLO', F. U. SCELZA', R. GALLOTTP, R. BOVE\ L. SIRANGELO', A. PONTRANDOLFO' ' University of Salemo, Department of Cultural Heritage, Laboratory of Archaeology "M. Napoli", Italy ' CRdC "Innova", Department of Cultural Heritage, University of Salemo, Italy ' Independent Software Developer ABSTRACT This paper concerns about the spatial organization and the thematic management of the Poseidonia and Paestum's urban funeral areas. The wide archaeological heritage, investigated since the beginning of XIX century, had been studied using different research methodologies. These studies led to several inhomogeneous documents. First of all, we have to notice the absence of a general topographical map concerning the exact localization of each grave. In front of this scenario, the aim for the researcher consisted in the documentary source's collection and the integration in order to construct an unique cartographical base to use as a corner stone for the Paestum 's plain. This base has been realized through the acquisition of multi-temporal and multi- scalar supports. These different data have been organized within a Geographical Information System, according to the same cartographical projection system. The burial ground's geo-localisation has been realized through survey control operations, carried out by a satellite positioning system (GPS- Glonass) with subcentrimetrical resolution. The second phase of the research aimed to the database construction in order to collect analytical records, relevant to each tomb, and to link the archaeological data to the geographical entities previously created. The target was to create an informative layer, selective and comprehensive at the same time, able to process specific thematic questions, analysis of singular funerary context and comparative examination of the entire necropolis.
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A Fam Trip to Southern Italy
During the second half of March 2010 we organised, together with the T.O. Media Tours from Zurich, an important event: A fam trip to Southern Italy 40 participants on behalf of the most important bus companies in Switzerland: a journey through 6 beautiful regions, visiting marvellous and dreamlike places like the Amalfi coast and Paestum, the national park of Cilento (pure nature), the Costa Viola (known for the colour of its waters), Taormina and the coast of Cyclops, Piazza Armerina and Palermo. The trip continued to Liguria where the visit of Genoa was planned; then, to bring the journey to a worthy end, they enjoyed an aperitif while travelling around the Borromee islands. The package price included 3 overnight stays in a 4* hotel, 4 rich lunches, an enlarged aperitif, a typical Sicilian breakfast, two boat trips with aperitif on board, one night ferry from Palermo to Genoa and guided tours of Paestum, Taormina, Catania, Palermo and Genoa. All this was concentrated into a short but intensive programme of 5 days. Thanks to this, the participants were able to admire the beautiful landscapes with breathtaking sections: starting from the southern Apennines to the Calabrian coast with its iridescent colours and then reaching the Peloritani mountains at the Cape of Taormina. A jump back in time where they visited the ageless city of Palermo, then passing northwards through the Tyrrhenian sea reaching the Liguria gulf with the large city of Genoa. The very last stage on Lake Maggiore successfully completed the journey, delighting the guests with a special lunch prepared with typical products.
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ANCIENT TERRACOTTAS from SOUTH ITALY and SICILY in the J
ANCIENT TERRACOTTAS FROM SOUTH ITALY AND SICILY in the j. paul getty museum The free, online edition of this catalogue, available at http://www.getty.edu/publications/terracottas, includes zoomable high-resolution photography and a select number of 360° rotations; the ability to filter the catalogue by location, typology, and date; and an interactive map drawn from the Ancient World Mapping Center and linked to the Getty’s Thesaurus of Geographic Names and Pleiades. Also available are free PDF, EPUB, and MOBI downloads of the book; CSV and JSON downloads of the object data from the catalogue and the accompanying Guide to the Collection; and JPG and PPT downloads of the main catalogue images. © 2016 J. Paul Getty Trust This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042. First edition, 2016 Last updated, December 19, 2017 https://www.github.com/gettypubs/terracottas Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu/publications Ruth Evans Lane, Benedicte Gilman, and Marina Belozerskaya, Project Editors Robin H. Ray and Mary Christian, Copy Editors Antony Shugaar, Translator Elizabeth Chapin Kahn, Production Stephanie Grimes, Digital Researcher Eric Gardner, Designer & Developer Greg Albers, Project Manager Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: J.
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Iconography of the Gorgons on Temple Decoration in Sicily and Western Greece
ICONOGRAPHY OF THE GORGONS ON TEMPLE DECORATION IN SICILY AND WESTERN GREECE By Katrina Marie Heller Submitted to the Faculty of The Archaeological Studies Program Department of Sociology and Archaeology In partial fulfillment of the requirements for the degree of Bachelor of Science University of Wisconsin-La Crosse 2010 Copyright 2010 by Katrina Marie Heller All Rights Reserved ii ICONOGRAPHY OF THE GORGONS ON TEMPLE DECORATION IN SICILY AND WESTERN GREECE Katrina Marie Heller, B.S. University of Wisconsin - La Crosse, 2010 This paper provides a concise analysis of the Gorgon image as it has been featured on temples throughout the Greek world. The Gorgons, also known as Medusa and her two sisters, were common decorative motifs on temples beginning in the eighth century B.C. and reaching their peak of popularity in the sixth century B.C. Their image has been found to decorate various parts of the temple across Sicily, Southern Italy, Crete, and the Greek mainland. By analyzing the city in which the image was found, where on the temple the Gorgon was depicted, as well as stylistic variations, significant differences in these images were identified. While many of the Gorgon icons were used simply as decoration, others, such as those used as antefixes or in pediments may have been utilized as apotropaic devices to ward off evil. iii Acknowledgements I would first like to thank my family and friends for all of their encouragement throughout this project. A special thanks to my parents, Kathy and Gary Heller, who constantly support me in all I do. I need to thank Dr Jim Theler and Dr Christine Hippert for all of the assistance they have provided over the past year, not only for this project but also for their help and interest in my academic future.
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Following Paul from Shipwreck on Malta to Martyrdom in Rome MALTA • SICILY • ITALY Led by Dr
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Greek Architecture
STATE OF THE DISCIPLINE Greek Architecture BARBARA A. BARLETTA Abstract however, that the list of works cited, which is provided The study of Greek architecture grew out of the me- at the end of this article, will assist the reader in locat- ticulous recording of buildings and their components by ing those contributions. 18th- and 19th-century investigators. Although the aims have changed, with an increasing emphasis on historical history of the discipline and social context, the basic methods of documentation remain the same. This essay traces the history of the disci- The study of Greek architecture has evolved consid- pline as a background to modern approaches, geographic erably from its origins in the 18th century, but some emphases, and new perspectives. It surveys the work of of the basic principles have remained the same. It was archaeological schools and conference bodies, followed initiated by architects seeking to preserve a record of by general studies of architecture and its components as monuments of the past and to use them as a source of well as individual building forms and complexes. A focus is placed on recent literature, from 1980 to the present, “good taste” in their own times. They were already fa- and on books rather than articles.* miliar with buildings in Rome, but by the 18th century, their interests had shifted to Greece. Stuart and Revett state the reasons for this shift in their 1748 applica- introduction tion for financing for what would be the first project Many contributions have been made to the field sponsored by the Society of Dilettanti.
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Malta, Sicily & the Aeolian Islands
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Campania/Rv Schoder. Sj
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18Th-Century Interpretations of Paestum's
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